This week on Twin Peaks, Dougie Jones' past gets a little more twisted as Cooper's future is still uncertain.
The short version: "Laura is the one."
Last week we learned more about how Major Garland Briggs was able to remain ageless over the decades, among other things, and this week we're learning more about Dougie Jones. It has long been established that Dougie (who has since left this world, to be replaced by a memory-less Dale Cooper) was essentially created as a kind of sacrificial figure so the DoppelDale could keep living unscathed, and last week it was established that no records on Dougie exist prior to 20 years ago. It was also made clear a while ago that various Vegas entities wanted Dougie dead. Now those entities are converging in interesting ways, shedding new light on the kind of trouble Dougie found himself in when we first met him.
Now Cooper's facing potential assassination yet again, as Dougie's got an insurance fraud gone wrong pinned on him. The person doing the pinning: Duncan Todd, the mysterious Vegas boss who's been taking orders from DoppelDale since we met him at the beginning of the series. This whole ominous subplot is gleefully intertwined with Janey-E Jones' realization that the man she thinks is her husband has newfound sex appeal, and the strange interplay between the Mitchum brothers and their pink-dressed assistants. Angelo Badalamenti's ominous score droning beneath the comedy of Candie (Amy Shiels) taking forever to go retrieve Anthony outside is a great Twin Peaks juxtaposition.
Oh, and it's important to remember: Major Garland Briggs' body had Dougie's ring in it when it was found in Buckhorn. We still don't know what that means or how much, if anything, Dougie knew about, but the mystery of who and what Dougie Jones was still has plenty of layers to unpack.
Elsewhere, the biggest and best new secret of the show came out thanks to Gordon and Albert: Diane's somehow been working with DoppelDale. That cryptic text he sent last week prompted her to tell him about the FBI's interrogation of William Hastings, who DoppelDale framed for murder in Part 1. Hastings, you'll recall, was working to locate another dimension called "The Zone," and even managed to find Major Briggs as a result of that work. It's pretty clear that DoppelDale's also got his eye on The Zone for some reason, but if that's the case, why not just try to get the info from Hastings in the first place instead of orchestrating his arrest? There's still a lot to uncover here, but the show's biggest and murkiest mystery is somehow even juicier now that Diane's in on it.
And remember that big glass box in a room in New York City? The one where The Experiment (or some other experiment) broke out and killed two people? DoppelDale's been there before, very early on in its existence. What he was looking for and what he learned while he was there isn't clear, but the box is connected to the other dimension Cooper made his way back from, and now The Experiment is loose in the world and so is DoppelDale.
Finally, let's talk about the episode's best moment: the Log Lady's call to Hawk. She's been guiding his search for answers since the beginning, but she seemed to speak with even more urgency now. "Laura is the one," she said, while predicting that something major is about to unfold. On Twin Peaks it's always felt like certain mysteries could never be solved, even as the show continued to elaborate on its mythologies. Key moments -- Laura Palmer's murder, the emergence of DoppelDale and so on -- always felt like important landmarks on a bigger map that we'd never fully get to read. We've got eight more hours in which the show can resolve whatever it chooses to resolve, and the Log Lady is here to tell us that we actually do seem headed for something big. As Part 8 told us, Laura Palmer was always more than a victim, even if we didn't know it. She's an angelic figure created for a grand purpose, a struggle that's somehow still not over. I love how the show is fleshing out the context of her existence, and I can't wait to see where it goes next.
With apologies to Ben and Jerry, I'm not really a fan of the Horne family saga so far this season, mostly because I find the addition of Richard (Ben's grandson and therefore apparently the absent Audrey's son) to be pure nastiness without any interesting context. He's just ... mean, without any real color to back it up, and each time we see him he seems to get meaner. Twin Peaks has a history of nasty characters who fill the landscape almost more like forces of nature than people (Leo Johnson, for example), but very often they can also be captivating (Jean Renault's a good place to point too there). Richard is not captivating me. I just sigh when I see him and hope it'll be more interesting next week. Even more importantly, though, he also serves to remind me that Audrey's not here yet, and I need Audrey.
- Poor Carl. The man just can't escape violence and strangeness. He just wants to play a lovely old song (Harry Dean Stanton's got some pipes) and sit out in the sun, but the saga of Becky and Steven intrudes. More importantly, though, the show has now drawn clear parallels to Becky and the past trials of her mother, Shelly. Becky too wound up in an abusive marriage, this one further exacerbated by drugs. The saga of Shelly and Leo was one of the soapiest and strangest of the original series, and it seems we may be seeing a little bit of history repeating.
- For a minute there it seemed like sex was going to be the thing to jolt Cooper out of his stupor (his Cooper Stupor), but not yet.
- Nobody likes you, Chad.
- Aw, Albert's got a date!
- And would you look at that: Nadine's drape runners are still a thing.
And that's it for this week! Join us next time for Part 11.